Is Nāṭyaśāstra Taught in NSD and FTII?

The Teaching of Nāṭyaśāstra in NSD and FTII: Reviving India’s Classical Theatre Legacy

India’s rich cultural heritage finds one of its most profound expressions in the Nāṭyaśāstra, the ancient Sanskrit treatise on performing arts written by the sage Bharata Muni. Comprising 36 chapters and over 6000 verses, the Nāṭyaśāstra is a foundational text that systematizes theatre, dance, and music, blending performance with spiritual and philosophical underpinnings. In recent decades, two of India’s premier institutions—the National School of Drama (NSD) and the Film and Television Institute of India (FTII)—have actively engaged with this classical legacy, integrating elements of the Nāṭyaśāstra into their academic and artistic training.

Nāṭyaśāstra: A Timeless Text

Before diving into how the Nāṭyaśāstra is taught in NSD and FTII, it’s crucial to understand its centrality to Indian aesthetics. The treatise outlines fundamental concepts such as Rasa (emotive aesthetic), Bhāva (emotional states), Abhinaya (expression), and codified body movements, known as Karaṇas and Maṇḍalas. It defines theatre not merely as entertainment but as a means to educate, uplift, and preserve dharma (cosmic and social order). Recognizing the depth of this work, institutions like NSD and FTII have taken steps to ensure it remains a living, breathing part of India’s cultural education.

Nāṭyaśāstra in the National School of Drama (NSD)

Reaffirming Classical Roots

The National School of Drama (NSD), an autonomous institution under the Ministry of Culture, has consistently upheld the importance of classical Indian theatrical traditions. With campuses in Delhi, Bengaluru, and Varanasi, NSD seeks to balance contemporary and traditional methods of performance, and the Nāṭyaśāstra plays a central role in that effort.

Bengaluru Centre: Integrating Theory and Practice

At NSD’s Bengaluru centre, students are introduced to the Nāṭyaśāstra in the third sub-semester of their course. The curriculum includes intensive training in the core concepts of the treatise:

  • Abhinaya: Students study all four forms—Āṅgika (body), Vācika (speech), Āhārya (costume), and Sāttvika (internal emotions).
  • Bhāvas and Rasas: The training includes deep dives into the emotional theories and how to evoke them through performance.
  • Mudrās and Gestures: Codified hand gestures and facial expressions are practiced in relation to narrative storytelling.

Students also engage in physical skills and exercises inspired by classical dance forms such as Bharatanatyam and Kathakali. The goal is to merge textual understanding with bodily discipline, creating actors who are well-versed in both ancient theory and modern application.

Varanasi Centre: Nāṭyaśāstra as the Prime Focus

NSD’s newly established Varanasi campus has placed the Nāṭyaśāstra at the center of its pedagogy. The one-year diploma in Indian Classical Theatre offered here aims to revive the essence of Nāṭya-based drama, emphasizing Sanskrit plays translated into Hindi.

Highlights of the Varanasi curriculum include:

  • Training in Sanskrit dramaturgy, using translations and dramatizations of Kalidasa, Bhāsa, and Bhavabhūti.
  • Instruction based explicitly on Nāṭyaśāstra’s chapters, especially those related to performance structure, acting technique, and emotive theory.
  • Workshops and stage performances that adhere to the rules of Rasa and Sāttvika Abhinaya.
  • Exposure to regional theatrical forms that are rooted in Nāṭyaśāstra traditions, such as Kutiyattam and Yakshagana.

The aim is not only to produce classically trained performers but also to culturally re-root Indian theatre education in its own civilizational history. The Varanasi campus serves as a bridge between the scriptural wisdom of ancient India and the evolving aesthetics of contemporary stagecraft.

FTII and the Nāṭyaśāstra: Classical Insights in Modern Media

Unlike NSD, which focuses primarily on theatre, the Film and Television Institute of India (FTII) in Pune is dedicated to cinema and television. Yet, even within this modern context, the Nāṭyaśāstra has found meaningful applications.

Inclusive Acting Courses Rooted in Classical Texts

One notable example is FTII’s basic course in screen acting for individuals in wheelchairs, where the Nāṭyaśāstra is included as an important reference. In these sessions:

  • Students are introduced to Hāsya Rasa (the aesthetic of humor), understanding how comedy was codified in ancient India.
  • The training incorporates movement exercises, sense awareness, and acting games, inspired by the physical-emotional synchrony discussed in Bharata’s text.
  • There is a focus on breaking psychological inhibitions through emotive expression, a concept derived from the Sāttvika aspect of Abhinaya.

Such courses are not merely about acting—they are therapeutic, inclusive, and empowering, reinforcing the Nāṭyaśāstra’s original intent: to be accessible to all sections of society, transcending physical and social barriers.

Classical Foundations for Cinematic Acting

In other acting courses at FTII, the Nāṭyaśāstra is often used to explain:

  • The history of Indian performance tradition.
  • The universal application of Rasa theory to cinema.
  • The importance of emotional authenticity, a hallmark of Sāttvika Abhinaya.

While FTII is not a classical performance institution, its conceptual incorporation of Bharata’s theories shows how adaptable and eternal the Nāṭyaśāstra is. It provides a cultural framework for actors to build their craft, even in non-traditional, modern formats like film.

Cultural and Educational Significance

The integration of the Nāṭyaśāstra in institutions like NSD and FTII has significant implications for cultural preservation, educational relevance, and artistic authenticity:

  1. Reviving Indigenous Knowledge Systems: It repositions India’s ancient texts at the center of its artistic pedagogy, challenging colonial-era biases that marginalized native art forms.
  2. Global Appeal: By mastering the Nāṭyaśāstra, Indian performers gain a unique identity in the global arts scene. It is a tool for cultural diplomacy.
  3. Holistic Learning: The text’s emphasis on spirituality, discipline, and ethics adds a moral dimension to artistic education, fostering holistic growth.

Conclusion

The Nāṭyaśāstra is not just a historical document—it is a living tradition that continues to shape India’s performing arts. Institutions like NSD and FTII are ensuring that Bharata Muni’s vision remains relevant in the 21st century. By rooting modern training in ancient wisdom, they bridge past and present, creating performers who are not only skilled but also culturally aware. Whether it is through theatrical productions in Varanasi or inclusive acting workshops in Pune, the Nāṭyaśāstra continues to resonate—affirming that true art is timeless, transformative, and deeply Indian.

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